Louris van de Geer. Photo: Save Schulman, 2017.

Meet Louris van de Geer, Master of Writing for Performance graduate

Louris van de Geer started her performance writing career as a teenager. Now a Master of Writing for Performance graduate, she talks to Sophie Duran about how the VCA helped her develop as a writer, the challenges of working in the theatre industry, and her greatest achievement to date.

I began writing plays in my first year out of high school. I hadn’t applied for university and wasn’t really interested in formal study. I continued writing and was making theatre at St Martins, the Melbourne Fringe Festival, MKA, and Next Wave, and knew I wanted to apply for the Master of Writing for Performance at the VCA so I could learn more about the craft and meet other writers, as well as have a taste of the academic experience.

I think I came to the VCA at exactly the right time. I had been on my own for several years, trying to make a career and step up to the next level, and the VCA came just in time so I could gain a more theoretical understanding of what I was doing.

I enjoyed the structure and the conversation that came with studying at the VCA. Structure and routine is so helpful to the creative process and very hard to implement for yourself – at least it is for me! So it was a really great thing, being forced to read certain things and think about them in certain ways, having to turn up with ten pages of writing by a certain time. I also enjoyed the freedom. There was never an idea that we had to write a certain type of play, or follow certain theories about narrative structure. We were encouraged to take risks.

The VCA gave me space and time and support to test ideas and understand why I make the work I do in the way I do. The people I met at the VCA are some of the best people, and the conversations in and outside of class have been instrumental to my thinking. Being able to meet actors, directors, designers and other writers is the most helpful thing. Writing can be a lonely pursuit, so tapping into and building networks with fellow students is a great way to become more embedded in the community.

My greatest achievement while doing my masters was working on my one-act play, Looking Glass. I really enjoyed the process: writing at home, having one-on-one dramaturgical meetings with a different dramaturg each week, and workshopping sections of script in class. There were so many thoughts and ideas being thrown around and it’s such a luxury to be receiving feedback so consistently. The play turned out to be a great success. It was shortlisted for the Griffin Award and the Rodney Seaborn Award the following year, and finally had its premiere production at fortyfive downstairs in August, directed by Susie Dee.

In the next few years, my goal is to keep writing, keep thinking about what theatre can be and how it can continue to be a space that offers something unique from film or television. I would love to have a show that tours, or at least is remounted again after an initial two-week season.

Theatre is a difficult thing to make. It is incredibly difficult to have a sustainable career. The arts are undervalued by the government and the wider population and this leads to conservative programming and conservative audiences.

To other aspiring writers of live performance, I’d say: don’t give up. Ask questions. Ask to be allowed into rehearsals rooms. Watch and read widely. Know why you’ve decided to do this thing instead of something else.

As told to Sophie Duran

Banner image: Sav Schulman, 2017.